UC-NRLF 


B    M    D71    M2fi 


m  MEMQWilAJA 
Prof.    J.    Henry  Senger 


1beatb'0  fiftobern  Xanguage  Series. 


UTERI ALS  FOR 


German  Composition. 


Hatfield. 


Based  on  Ho  her  a  Is  die  Kir  c he. 


D.  C  HEATH  &    CO., 

BOSTON,        NEW  YORK.         CHICAGO.       LONDON. 


^!^ 


Ibeatb'6  fiDobern  Xanouaee  Seriee 


MATERIALS 


German  Composition 


BASED    ON    "HOHER   ALS    DIE    KIRCHE" 


BY 


JAMES   TAFT   HATFIELD 

V 
Professor  of  the  German  Language  and  Literature 
IN  Northwestern  University 


ASSISTED    BY 

JESSIE  EVERSZ,  B.  L. 


BOSTON,    U.S.A. 

D.  C.  HEATH    &   CO.,    PUBLISHERS 

1897 


Copyright,  1897 
By- James  Taft  Hatfield 


m  MEMORTAM 


^»  VV<^^^^    ^ev-c^er 


Press  of  Carl  H.  Heintzemann,  Boston,  Mass.,  U.S.A. 


PREFACE.  AA(A_^ 


The  need  of  materials  for  German  composition,  based  upon 
continuous  texts  which  should  afford  practice  in  the  use  of  the 
actual  idioms  of  the  language,  has  long  been  felt.  The  success 
of  the  excellent  French  series  devised  by  Professor  C.  H. 
Grandgent  of  Harvard  University  has  led  to  the  substantial 
adoption  of  the  same  plan,  with  his  cordial  concurrence.  As- 
suming a  foregoing  thorough  drill  in  the  elements  of  German 
inflection  and  syntax,  the  exercises  are  to  be  used  without  a 
dictionary,  after  the  student  has  made  himself  so  familiar  with 
each  original  passage  as  to  have  an  instinctive  feeling  for  its 
vocabulary  and  constructions. 

The  experienced  teacher  will  notice  that  the  aim  of  these 
lessons  is  not  to  afford  a  complete  synopsis- of  the  body  of 
grammatical  doctrine,  but,  by  repeated  application  of  the  chief 
underlying  principles  of  German  construction,  to  thoroughly 
impress  on  the  student  some  of  the  more  fundamental  features 
of  the  German  language.  I  have  already  made  similar  mate- 
rials based  on  Immensee,  and  designed  for  pupils  of  the  same 
advancement. 


EXERCISES   BASED   ON   ^vHOHER  ALS 
DIE   KIRCHE.";      ■        ; 


3i«<C 


A.     QUESTIONS    AND   ANSWERS. 

(Oral  Exercises.) 


I.  Das  meffer, 

1. 

From  „^Ib^Uc^  blieb  er  ftel)en"  to  „^a8  nmc^t  i§r." 

2.  28a§fragte  er? 

3.  SSen'fragte  er? 

4.  Sag  h?ar  ber  eble  9flitter? 

5.  2Sorauf^beuteteber^aifer? 

6.  2Sa§  pflanjten  bie  ^inber? 

7.  SSie  ^  ^fknjleu  bie  ^inber  ben  jungen  9?ofenftocf  ? 

8.  9Sa§  fiir  ^inber  h)aren  e§  ? 

9.  SBie  alt  iDaren  ba§  ^Rdbd^en  unb  ber  ^nabe? 

10.  3Sarum^  f)orteu  bie  illeinen  ben  ^aifer  nic^t  fommen? 

11.  9Ba§  tf^aten  jie,  al§>  er  i)or  if^nen  ftanb? 

12.  28ag  f agte  ber  33ube  ? 

13.  2Bie  fagte  er  bag  ? 

1  'did.'         2  'whom.'         3  « at  what.'         4  'how.'         ^'why.' 

1 


GERMAN    COMPOSITION. 

2. 

Frci:.!  ,3a^  mac^t  il)?;"  to  „m)  fo  —  ta  t)abt/' 

1 .  ''iQa^S  fvagle  9Jlaj:imi(ian  ? 

2; ' ^^praw  ^'  '.ucibete.  fid^' f ein  ^iinftleraucje  ? 

3.  <iSem^  fe^en  bic  S^in'ber  ben  9iofenftocf  ? 

4.  3©cv3  fagte  bev  Sunge  imerf dirocfen  ? 

5.  3iHv5  fvagte  bann  ber  ^aifer? 

6.  2Sa§  t()at  bavauf '  ber  $3unge  ? 

7.  2Bie  anttDOvtete '  er  ? 

8.  2Sa§,  fagte  ber  ^aifer,  toiirbe  ber  liebe  @ott  tf>un  ? 

9.  2Bie  ^iej^  ber  ^nabe  ? 

10.  3Ba§  fragte  93lajimilian  iiber^  bie  ^leine? 

11.  2Sar  bie  Slleine  feine  6c^tDefter? 

12.  2Ba§  nannte '  §an§  bie  ^leine  ? 

13.  3Sa§fagte  erjuif^r? 

1  'on  what.'     2  '  to  whom.'     3  'then.'    4  'answered.'     5  'about.' 

6  'called.' 


3. 

From  „%lj  fo  —  ^a  fjabt"  to  „3)er  ^aifer  gviff." 

1.  2Sa§  fragte  ber  ^aifer  iiber  ba§  93Zeffer? 

2.  '^^nn  ber  5lnabe  !ein   93iefjer  \)at,  \va^%  !ann   er  nid^t 

3.  SS?enn  ernid^U  fc^neiben  fann,  ir)a§  i)erbient  er  nid^t? 

4.  D\)m  \va^  !ann  man  iiic^t  ^)eiraten  ? 

5.  2Sarum  tnujste  §an§  met  ©elb  t)aben? 

6.  9Ba§  iDoHte  §ang  fc^neiben? 

7.  2Ba§  tDotlte  ber  5!nabe  tuerben? 


EXERCISES. 


8.  2Ber  WoUU  ^oljfc^neiber  iierben  ? 

9.  SSelc^en^  9?amen  fatten  bie  jungen  33uvfc^en  in  ^ixxn-. 
berg? 

10.  33ei  Wtm  fafj  ber  ^aifer  bie  jttjei  33urfc^en? 

11.  2SDMuo^nte'2)urer? 

12.  2Sa§  iibten  §anfen^  35dter  in  ^^iirnberg? 

13.  3Bo  finb  fein  3Sater  imb  fein  Df)(ei)m? 

14.  2Sa§  faufte  i^m  bie  2)Uitter  nic^t? 

1  '  do.'        2  *  what.'        8  '  where.'        4  '  lived.' 


From  ,,'2)er  ^aifer  griff"  to  „'3Jlan  tann'i  grcifen." 

1.  So^in 'griff  ber  ^aifer? 

2.  2Ba§  fiir^  ein  9J^effer  509  er  ^erau§? 

3.  ai^ag  fagte  ber  J^aifer,  aU  ^  er  bal  ?D^effer  ^erau^gog? 

4.  2Ba§  ftieg  bem  33uben  in§  ©efic^t? 

5.  2Barum  ftieg  fie  xljm  in§  ©efic^t? 

6.  28a§faf;man? 

7.  2Boburrf)  ^  fonnte  man  e§  fe^en? 

8.  SSie  im^m  ber  Sub(e)  ba§  ^Jleffer  ? 

9.  2Bay  iDar  atted,  H)a§  ber  33ube  F)erau5brac^te  ? 

10.  2Sa'o  loberte  in  ben  Slugen  be§  ^naben  auf  ? 

11.  3Sa§  forrte'  §an§  in  DUirnberg  t^un? 

12.  3Bag  giebt'g  in  Dtitrnberg? 

13.  2l^a§  tDoirte  ber  ^nabe  nic^t  tF)un? 

1  literally, '  in  what  direction.'        -  'what  sort  of.'         3  <as.' 
4  '  through  what.'        5  <  should.' 


GERMAN    COMPOSITION. 

5. 

From  „aj?an  faun's  grcifeii"  to  ,,§eri-  ^atfer." 

1.  2Soran  foate  §an§  fid;  ^alten? 

2.  2Ba§  gog  ber  Jlaifer  au§  bcm  ©ammetfoKet? 

3.  2Sa§  fur  ein  Scuteld;en  tr)ar  c»? 

4.  2Borau§^  jog  ev  ba§  leberne  ^cutelc^en? 

5.  2Bem  gab  er  e§? 

6.  2Ba§  \x>ax  barin^? 

7.  2Ba§  follte  §an§  mit  ben  ©olbgulben  l^un  ? 

8.  2Sem  foKte  er  fie  geben  ? 

9.  2Bann^  follte  er  reifen? 

10.  SSon  h)em  foKte  er  einen  ®ru^  bringen? 

11.  2Sa§  foirte  er  if)m  fagen  ? 

12.  2Sarum  folUe  ©iirer  bie  Seiter  fur  §ang  lf)alten? 

13.  9Sa§fd;utteIte§an§? 

14.  9Sie  fd^itttelte  er  fie? 

1  '  out  of  what.'         2  <in  it.'         8  <  when.' 


6. 

From  „^tXV  ^aifcr"  to  the  end  of  the  chapter, 

1.  2Ba§  fagte  ber  ^aifer,  aU  er  ben  33erg  Ijinabftieg? 

2.  W\t  iuem  ftieg  er  ben  ^erg  binab? 

3.  2Bie  ftanb  ber  Slnabeba? 

4.  3Ba§  ijaiU  93taili  einftiveilen  getf)an? 

5.  2Sa§  ^ielt  fie  in  ber  §anb  ? 

6.  SSie  f^ielt  fie  if)n  ? 

7.  SBem  lief  fie  jet^t  entgegen? 


EXERCISES. 

8.  2Se§F)aI6 '  tarn  bie  gjlagb  ? 

9.  2Ba§  \vo\iU  fie  nid)t  tf;un  ? 

10.  2Ba§  burfte  jie  nid)t  anrii^ren  ? 

11.  2Sa§  lief  fie  jufammeu? 

12.  2fio  rief  fie  bie  2^nU  jufammen? 

13.  2Ba§  h)oaten  alle  fe^en  ? 

14.  2Sa^  h)ar  ber  Sn^alt  be§  Seutel§? 

1  •  for  what  reason.' 


II.  Unter  ^cm  ttiaifcrbaum. 

7. 

From  ,,3a^re  Derftrirfjcu  feitbeiu"  to  „(Stuubculang  fa§en  fte." 

1.  3Sie  fc^Ioffen  fid;  bie  ^inber  aneiuauber  an? 

2.  2Sa§  tr^aten  fie  abenbg? 

3.  2Bof)in  gint3  bev  33ater  abenb^  am  geierabenb  ? 

4.  3Ba§  t^at  ber  23ater  im  2Sirt§^aue>  ? 

5.  SSo  fc^natterte  bie  §au§bdltenn  mit  ben  gvau  33afcn? 

6.  SSo^iniiBer^  fticcjcn  bann  bie  ^inber? 

7.  25iie  lag  Her  ^aun'i 

8.  ma§  fcf)ni|te  §an§  bem  3}laili  ? 

9.  2Ba§  fiir  JiGiii'c^cu  fc^ui^te  ev? 

10.  2Sot)on  erjd^lte  er  ibv? 

11.  SSo  l^atte  er  ^ilber  unb  (2cf)ni^iDer!e  gefcfjen? 

12.  2Bo^in  ging  §an§  oft? 

1  '  over  what.'         -  '  lay.' 


GERMAN    COMPOSITION. 

8. 

From  „@tiinbenlang  fa^eii  fie"  to  „<Bo  uiud)jcu  bic  ^leinen  l^eran." 

1.  2Bte  laitge^  fa^en  fie  fo  bei  einanber? 

2.  2Sa§l{)atenfiebabei'? 

3.  2Bann  liefcn  fie  §um  5Runfter  E)inauf  ? 

4.  2Sag  i\)aUn  fie  bort  ? 

5.  SScldier  Sfjofenftodf  h)ar  bort? 

6.  3So  tDeilten  fie  am  liebften? 

7.  2Ba§  meinten  fie  immer  ? 

8.  2Sie  follte  ber  ^aifer  t>or  i^nen  fteben  ? 

9.  3Ba§  riefen  fie  oft  fjinau^? 

10.  9Ste  riefen  fie  e§? 

11.  25so  ipar  ber  ^dfer  ? 

12.  Sa§mad)teHer  ^aifer? 

13.  2Barum  mu^ten''  bie  tober  h)arten? 

1  '  long.'     2  '  at  the  same  time.'     3  'was  .  .  .  doing.'     ■*  'must.' 


9. 

From  ,,®o  lnucf)fcn  bie  ^Iciueu  l^evon"  to  „@ciue  ^amilic  maren." 

1.  SSer  it>ucl^§  Ijjeran? 

2.  2Sa§  h)ud)§  mtt  iJ^nen? 

3.  2Ba§   ]f)atte  fidfi  in  if;ren  ^erjen  mit  ben  ^Burgeln  be§ 
33dumd)en§  in  ein§  t)erfd)Iimc5en  ? 

4.  2Bof)in  gog  e§  aui^  bie  @rlt)ad^fenen  ? 

5.  5Bo  it>ar  ber  9^ofenftodf  ? 

6.  3Bie  oft '  fanben  fie  fid^  l^ier  ? 

7.  2Bie  n?ar  bag  ^dum^en? 


EXERCISES. 

8.  2B05U "  trar  ber  treue  greunb  nid)t  ftar!  o^tmx^  ? 

9.  2Sa§  fiir  ein  ^Dtdbc^en  irar  bte  gungfrau  S^tu^^arfjenn  ? 

10.  2Sa§  burfte  jie  nicf)!  mefjr  t^un  ? 

11.  2Ber  berbot  e§  i^r? 

12.  SSarum  berbot  er  e§  if^r? 

1  '  often.'         '-  •  for  what.' 


10. 

From  ,,@einc  gamilic  iDoreu"  to  „3Ba§  er  trieb  unb  fd)afftc." 

1.  2Ba§  fiir  Seute  tt)aren  §anfen§  ©Itern  ^  ? 

2.  2Ste  h)aren  fie  nad^  33reifad^  gefommen? 

3.  2Ba§  irar  ein  grember  ju  jenen  ^dUn'^. 

4.  2Ba§  trar  §an§  noc^  baju"? 

5.  SSorein^  fonnte  er  nid)t  eingefiigt  lr>erben? 

6.  2Ba§  fiir  ein  ©eleife  bilbete*  ba  ber  alt^erfommlic^e 

7.  2Sa§  trieb  ber  §an§  au^erbem  ^  nic^t  einmal  ? 

8.  2Ba§  iDotlte  er  tt>erben  ? 

9.  3Sa§  bebeutete  ^  ba§  ju  jenen  3^iten  ? 

10.  SSoburc^  berfii^rt  ein  ^ejenmeifter  ebrlidE^^  Seute? 

11.  2Ba§  fiir  eine  %xi  5Dienfrf)  i^ar  ber  ^axK^:>'^. 

12.  9Ba§  mad;te  er,  iDO  er  i:)oriiber  ging? 

13.  2Sa§  fiir  2o(!en  ^atte  er? 

14.  3Sie  iDaren  feine  2lugen  ? 

1  'parents.'        2  'besides.'        3  'into  what.'         ^  'made.' 
5  '  moreover.'        6  '  signified.' 


8  GERMAN    COMPOSITION. 

11. 

From  „2Ba§  cr  trieb  iinb  jdjafftc"  to  „@eitbcni  wax  cv  DoIIenbg." 

1.  $Ser  i»uj3te,  \va^  ^an^^  tricb  unb  fcfiaffte? 

2.  2Ba§  iDu^te  fein  9JMc^  ? 

3.  25>ag  f)atte  er  fid)  gefauft? 

4.  2Ba§  fiir  cin  §au§  it>ar  e§  ? 

5.  93Zit  iT)em  betoo^nte  er  ba§  !leine  §au§  ? 

6.  ©eit  ^  h)ann  l^atte  er  e§  attetn  beit»DF)nt  V 

7.  ©tngen  biele  ^  Seute  bei  iF)m  au§  unb  ein  ? 

8.  2Ser  irar  ber  ©injige/  ber  in  feinem  §aug  eins  unb  au§5 
Gtng? 

9.  2Ba§  fiir  ein  9Jlann  it)ar  Safob  (Sc^mibt? 

10.  SSag  t^at  biefer  eineg  ^Tageg? 

11.  Unter^  hjelcfien  Umftdnben^  t!^at  er  e§  ? 

12.  2Ba§  mu^te  er  nad^^cr  ^  tf)un  ? 

13.  2Ba§  fagte  man  fogar  ^atte  §an§  get^an? 

1  literally,  '  since.'        2  '  many.'         3  '  the  only  (person).' 
4  '  under.'        5  <  circumstances.'         6  <  afterwards.' 


12. 

From  „@citbem  Wat  cr  botlenbS"  to  "Unb  fie  fam  aud)  rirf)ttg. 

1.  2Sie  hjar  e§  feitbem  mit  §an§  ? 

2.  2Ber  ivar  9lu^^arf)er? 

3.  SSer  tt>ar  il^m  ein  2)orn  im  2(ugc  ? 

4.  2Bo  lie^  ^tu^^ad^er  eine  5i}^auer  auffii^ren? 

5.  28agh?ar  bie  golge^? 

6.  2Bo  fonnten  fid^  bie  jungen  2eute  treffcn? 


EXERCISES. 

7.  ^onnten  fie  ftc^  oft  ba  treffen  ? 

8.  2Sann  fonntcn  fie  fid)  ba  treffen  ? 

9.  SBeld^e  2Bir!ung'-^  ^atte  aber  gerabe  bie§  §inberni§? 

10.  3Sa§  t(;at  ber  ©trom  if)rer  unbeiou^ten  ©efut;Ie? 

11.  2Qa§  t^at  §an§  eine§  2lbenb§? 

12.  3So  fang  er  fetnSieb? 

13.  2Ba§  fiir  ein  Sieb  mar  e§? 

1  '  result.'         2  '  effect.' 


B.     SENTENCES. 

[To  be  written  in  German.] 

13. 

From  „Unb  ftc  fam  aud^"  to  „@o  ftanben  bcnn." 

1.  We  came  on  the  next  day  and  carved  small  letters  in 
the  rose-bush. 

2.  They  swear  that  they  will  never  consent  to  leave  ^  their 
anointed  emperor. 

3.  Only  emperors  can  share  these  sacred  hours  with  us. 

4.  Hans  will  take  down  the  hearts  from  ^  the  rose-bush. 

5.  They  cry  out  loudly  :   ''We  are  coming  !  " 

6.  "  Ah,  if  only  the  emperor  had  come  !  "   they  cried  out. 

7.  We  do  not  grant  these  sacred  hours  to  ourselves  alone. 

8.  The  letters  which  he  carves  in  the  rind  of  the  rose-bush 
signify  Maria  and  Hans. 

9.  Over^  the  letters  she  carves  Maximilian's  imperial  crown. 
10.  The  autumn  passes  away,  and  now  the  winter  will  come. 


10  GERMAN    COMPOSITION. 

1 1 .  Since  the  winter  is  coming,  I  shall  see  her  more  rarely. 

12.  If  Hans  sings  many  songs,  Ruppacher  will  some  day 

notice  it. 

1  use  toerlaffen.        2  jjo^,        3  ut,^,;  (dat,). 


14. 

From  „<Bo  ftanben  benn"  to  „Tlai{i,  fagte  ber  Siingling/' 

1 .  One  evening,  eight  years  ago,  the  young  people  planted 
a  rose-bush. 

2.  So,  then,  I  am  standing  here  ^  for  the  last  time. 

3.  The  youth  of  twenty  years  will  stand  near  ^  the  beautiful 
bud  of  sixteen  summers. 

4.  In  the  South  the  February  days  are  frequently  mild. 

5.  The  snow  is  melting,  and  light  breezes  are  shaking  the 
branches. 

6.  On^  a  February  day  the  branches  of  the  rose-bushes  are 
still  brown. 

7.  The  girl  stands  before  the  youth,  to  whom  she  has  re- 
lated everything,  and  is  silent. 

8.  I  have  had  to  hear  all  that  they  relate. 

9.  Everything  that  we  planted  eight  years  ago  is  now  brown. 

10.  That  which  we  have  to  hear  is  not  agreeable  ^ 

11.  So  we  stand,  and  his  hand  rests  in  mine. 

12.  The  great  drops  coursed  down  over  the  girl's  cheeks. 

1  see  preceding  lessons.        2  nebeti  (dat.).        3  auflenel)m. 


EXERCISES.  11 

15. 

From  „9D^aiU,  fagte  ber  Siingling"  to  „Civ  \ie^  e8  gern  gefc^e^en." 

1.  The  girl  does  not  believe  that  the  youth  is  such  a  bad 
person. 

2.  As^  she  opened  wide  her  blue  Madonna-eyes,  he  saw^ 
a  beautiful  smile  steal  ^  over  her  girlish  face. 

3.  Her  face  is  gentle,  her  eyes  are  blue,  and  her  smile  is 
beautiful. 

4.  "  Hans,"  said  she,  "  I  can  never  believe  that  you  are  bad." 

5.  Bad  men  shall  not  deceive  us  in  regard  to  them. 

6.  Nobody  knows  us,  but  we  know  them  all. 

7 .  They  brought  me  up,  and  taught  me  what  everybody  * 
should  know. 

8.  They  have  led  us  astray  in  regard  to  her,  but  we  do  not 
know  it. 

9.  He  has  made  us  what  we  are,  and  has  taught  us  what  is 
beautiful. 

10.  The  artistic  hand  of  the  youth  will  make  human  figures 
out  of  wood. 

1 1 .  With  his  powerful  callous  hand  he  has  formed  the  large 
human  figure  out  of  wood. 

1 2 .  A  beautiful  smile  was  on  ^  her  soft  warm  lips. 

1  al».        2  |e()en.        ^  infinitive  without  311.        ■*  jebermatm.        ^  auf. 


16. 

From  „Qv  lie^  e«  gcrn  gefc^el)en"  to  „nnb  fie  fan!  in  'Xl)vanen." 

I.  We  willingly  allow  it,  for  we  know  nothing  of  the  love 
etiquette  of  the  days  of  our  ancestors  ^. 


12  GERMAN    COMPOSITION. 

2.  If   she  folds  her  tender  fingers  over    his,  he  will    say 
nothing  further. 

3.  If  she  presses  '^  her  tender  finger  against  her  soft  lips,^ 
they  will  be  silent  -. 

4.  I  shall  always  believe  in  them,  for  they  aie  honoring 
God  by  their  labors. 

5.  She  remained  true  to  him  until  he  had  brought  himself 
and  his  art  to  honor. 

6.  He  who  comes  as  a  man  of  repute  has  a  right  ^  to  woo 
her. 

7.  I  will  remain  true  to  him  until  I  take  my  way  into  the 
cloister. 

8.  She  will  not  be  buried   (anywhere)   except  under  this 
tree,  where  she  has  been  so  happy. 

9.  If  she  dies  before  I  come,  she  will  rest  from  her  toils 
and  labors. 

10.  The  rose-leaves  which  fall  down  upon  him  admonish  him 
to  believe  constantly  in  her. 

11.  Each  rose-leaf  which  fell  down  upon  me  called  (her)  to 
my  mind,  as  though  it  were  a  smile  ^  from  her  beautiful  lips. 

1  S3or[at)ren.        2  see  preceding  lessons.        s  Dflec^t,  n. 


17. 

From  „Unb  fie  fan!  in  S^rtineu"  to  „%6),  \a  ber  ^aijer." 

1.  She  sinks  upon  his  breast,  and  large  tears  course'^  down 
over  his  cheeks  \ 

2.  In  our  pain  at  parting,  both  of  our  hearts  are  beating 
fervently. 


EXERCISES.  13 

3.  Something  stirs  itself  in  the  pith  of  the  rose-bush,  as 
though  ^  it  were  a  premonition  of  spring. 

4.  Are  you  weeping?   If  everything  does  not  turn  out  well, 
your  father  will  help  us. 

5.  At  last  Hans  aroused  himself,  and  went  to  Diirer. 

6.  If  he  could  finally  seek  out  Diirer,  he  would  learn  some- 
thing worth  while. 

7 .  We  will  go  to  the  youths  wherever  they  may  ^  be. 

8.  I  will  arouse  myself  and  go  to  my  father. 

9.  We  will  lay  our  request  before  them,  as  your  father  has 
said. 

10.  The  emperor  commands  us   to   learn    thoroughly  with 
Diirer. 

11.  We  begged  for  their  intercession  with  the  emperor. 

1  see  preceding  lessons.        '^  use  mogen. 


18. 

From  „'^6),  ja  ber  Golfer"  to  „2Bo  ftecft  il)r  benn." 

1.  "If  we  should  pray,"  says  Hans,  "  that  would  certainly 
help  us." 

2.  At  last  he  came  again,  and  helped  them  both. 

3.  I  will  surely  lead  him  to  them  or  them  to  him. 

4.  When  -^  we  kneel  down    in    the    damp  winter-grass,  it 
seems  to  us  as  though  the  emperor  must  come  again. 

5.  A  miracle  is  performed  :  before  our  eyes  the  emperor's 
bush  is  transformed  into  the  emperor  himself. 

6.  The  great  solemn  bells  of  the  minster  strike  slowly  and 
very  sadly. 


14  GERMAN    COMPOSITION. 

7.  What  is  burning?  Have  the  enemy  come? 

8.  I  forebode  a  very  sad  misfortune. 

9.  As-  we  looked  up,  we  foreboded  a  severe  misfortune. 

10.  People  who  wish  to  pray  in  the  church  are  now  climbing 
up  the  mountain. 

1 1 .  I  lead  him  into  the  cross-passage,  while  they  conceal 
themselves  in  the  church. 

12.  The  two  lovers  hasten  towards  the  people  who  wish  to 
go  to  the  church,  in  order  to  hear  what  is  the  matter. 

1  tDcnn.       '-2  al§. 


C.     COMPOSITION. 

19. 

From  „mo  ftedft  i^r  benn"  to  „0  maiU,  ffagte  ^an8." 

Where  had  they  been  that  they  knew  nothing  (about  it)  ? 
It  had  been  read  aloud  in  the  market-place.  The  emperor  was 
dead  !  When  all  was  quiet  again,  Maili  heard  ^  Hans  sobbing  ^ 
aloud,  for  ^  all  his  hopes  are  shattered  at  one  blow.  He  stands 
as  if  struck  by  lightning,  but  ^  when  the  place  is  again  empty 
he  sits  down  on  the  bench,  leans  his  forehead  on  the  slender 
stem  of  a  rose-tree  and  weeps.  When  it  began  to  grow  dark, 
Hans  felt^  (how^)  a  hand  (was)  laid  lightly  on  his  shoulder, 
and  saw  ^  Maili  standing  by  him  \  The  bell  had  finished  ring- 
ing, and  the  brazen  dirges  had  died  away ;  (everything)  round 
about  in  nature  was,  as  it  were,  dead  and  empty. 

1  t)5rcn.        2  infinitive  without  311.        ^  j)(>mi,        4  see  preceding  lessons. 
^  fiil)(cn.        '^  tuie.        "  reflexive. 


EXERCISES.  15 

20. 

From  „0  WlaiM,  flagtc  §an8"  to  „^m  anbcrn  a)?orgcn." 

Hans  gazed  at  her  and  saw  ^  how  her  blue  eyes  were  gleam- 
ing through  the  twilight  like  a  star,  banished  from  Heaven, 
that  longs  to  be  back  in  its  home  again.  As  she  stands  before 
him  she  has  her  arms  crossed  over  her  breast,  and  is  the 
image  ^  of  maidenly  humility ;  a  great  joy  lights  up  her  face, 
and,  filled  with  enthusiasm,  she  clasps  her  hands.  "  I  no  longer 
need  the  help  of  an  emperor,"  whispers  Hans,  "  for  ^  God,  who 
never  deserts  us,  has  shown  me  in  these  moments  the  Queen 
of  Heaven.  I  shall  be  a  true '  artist,  for  I  shall  succeed  in 
creating  that  which  stands  before  my  *  eyes. 

1  see  preceding  lessons.        2  SgitJ),  n.         8  maijx. 
4  use  the  personal  pronoun  in  the  dat. 


21. 

From  „%m  Qitbern  SJZorgcn"  to  the  end  of  the  chapter. 

The  next  day,  after  ^  he  has  shut  up  the  little  house,  he  puts 
the  keys  in  his  pocket  and  walks  slowly  away.  At  the  break 
of  day  he  had  walked  from  his  door,  ready  for  a  journey,  his 
knapsack  on  his  back,  and  on  his  breast  a  little  leather  purse 
with  the  last  remains  of  his  money  ^ ;  and  now  he  was  singing  ^ 
once  again,  "Am  Rosendorn  !  "  But  emotion  soon"*  overcame 
the  departing  one,  it  seemed  as  though  his  voice  trembled  and 
was  insecure.  In  the  twilight  she  had  gently  opened  a  low 
window,  the  panes  of  which  were  round  and  set  in  lead.  With 
a  white  handkerchief  she  was  waving  °  him  silent  farewell- greet- 
ings from  the  house.     Now  his  voice  breaks  into  tears,  and  it 


16  GERMAN    COMPOSITION. 

seems  as  though  emotion  were  overcoming  the  parting  one. 
The  song  has  ceased,  and  only  his  firm  tread  and  the  clatter 
of  his  staff  sound  up  the  street. 

^  nac{)t)em.        2  (Sjgij)^  n.        3  see  previous  lessons.        ^  balb. 
5  use  3Urt)ef)en  with  the  dat. 


III.  ^ein  ^voplict  im  raterlan^. 

22. 

From  „3al)r  urn  3al)r  ticrging"  to  ,,S)ie  ©tiirme  iim  ^reifad)." 

Years  have  passed,  and  Hans  has  disappeared,  and  people 
only  remember  him  when  they  pass  by  the  blinded  windows 
of  the  little  deserted  house.  Only  one  (person)  knows  who 
will  next  have  a  right  to  it.  The  threatening  on  the  part  of 
her  father  cannot  induce  Marie  to  grant  her  suitors  a  hearing, 
for^  she  is  constantly  thinking  of  her  Hans.  She  tends  the 
growing  bush  which  he  had  planted,  for  it  is  the  only  thing 
which  is  associated  with  their  happiness,  and  she  wishes  ^  it  to 
rejoice  his  heart  at  his  home-coming.  It  wants  to  tower  above 
the  niche  in  which  it  stands,  but  Marie  will  bind  it  fast  to  the 
wall,  and  the  blooming  top  of  the  bush  will  have  to  bow  under 
the  arch.  Her  only  pleasure  is  to  water  the  rose-bush,  and  she 
never  leaves  her  father  except  to  do-^  this.  The  beautiful  child 
grows  quieter  and  sadder  day  by  day.  Her  father  can  see  that 
her  days  are  passed  in  silent  labors,  so  that  her  cheek  is  begin- 
ning to  grow  pale,  yet  without  pity  he  sees  how  his  child  is 
slowly  failing.  He  cannot  make  Marie  marry  by  force,  be- 
cause ^  the  Reformation-conflict  threatens  Breisach.     His  time 


EXERCISES.  17 


IS 


SO  taken  up  by  the  council  that  he  cannot  carry  out  his 

plan,  and  it  is  lucky  for  his  child  that  his  activity  will  not  let 

him  ^  come  to  that. 

1  see  preceding  lessons.        2  tDunf(l)cn,  with  subj.  of  indir.  discourse. 
3  lueil.         •<  to  stand  after  ba^. 


23. 

From  „®ic  @tiirme  um  9?reifacf)"  to  „(5iuc  2tu§f(f)  ret  bung." 

The  peasants  are  approaching,  and  everyone  must  rise  in 
arms  and  place  the  city  in  a  state  of  defense,  for  it  trembles 
for  its  ancient  faith.  The  archduke  Ferdinand  had  counselled 
them  to  prepare  a  worthy  high-altar  which  should  bring  the 
repute  of  the  ecclesiastics  visibly  before  the  eyes  of  the  waver- 
ing peasants.  The  duke  decides  to  do  everything  to  strengthen 
their  old  faith,  so  ^  he  makes  a  pious  endowment  for  the  exal- 
tation of  the  repute  of  the  old  belief.  For  some  time  they  had 
lacked  dignified  offices,  and  now  such  a  want  must  be  remedied, 
so  the  duke  has  them  do  all  that  they  can.  There  is  proposed 
in  Breisach  a  work  which  shall  strengthen  the  catholic  faith  by 
an  image  in  the  church  itself,  and  just  at  this  time  everyone 
does  his  part  in  ^  fortifying  the  city  both  from  within  and  with- 
out. 

1  iDaviun.        ^  um  with  inf. 


24. 

From  ,,(ginc  2(ugf(^reibung"  to  ,/3c^neI(ev  fiiUt  fein  @tern." 

Marie  has  not  heard  that  a  summons  has  been  issued  to  all 
German  artists,  and  she  is  weary  of  waiting,  for  it  is  now  going 


18  GERMAN    COMPOSITION. 

on  five  years  since  Hans  has  been  heard  from.  If  he  should 
send  in  the  best  plans,  the  execution  of  the  work  would  be 
given  to  him.  Marie  knows  ^  nothing  of  all  this,  for  she  lives 
alone  in  a  little  balcony- room  and  no  longer  goes  about  among 
the  people,  who  always  call  her  "the  bride  of  heaven."  Hans 
had  once  carved  for  her  a  wooden  Christ,  and  her  glances 
grow  sadder  every  time  she  looks  up  at  the  image  ^.  Uncer- 
tainty is  gnawing  her  life  away,  for  Hans  does  not  write  to  her 
because  ^  he  has  not  a  friend  in  Breisach.  One  evening  she 
had  become  so  tired  of  this  fruitless  waiting  that  she  sat  down 
to^  write  her  last  will.  After  ^  her  father  had  gone  to  the  ses- 
sion of  the  council  and  she  was  alone,  she  began  to  write  :  she 
asked  that  when  she  died  she  might  be  buried  up  by  the  rose- 
tree,  which  they,  while  children,  had  consecrated  to  God.  As 
she  was  writing,  "When  Hans  Liefrink  returns,"  she  suddenly 
heard  him  singing^  very  softly  under  the  window  of  the  little 
balcony- room. 

1  iciffen.        2  see  preceding  lessons.        3  nn^  .  .  .  gu. 


25. 

From  „<S>d)mUcv  fdttt  !ein  ©tern"  to  „Tle\n  treucS  ?ieB." 

The  will  (which  had  been)  commenced  flies  into  a  chest 
more  quickly  than  a  star  can  fall  from  heaven ;  Marie  sj^rings 
to  the  window,  and  the  end-rhyme  is  repeated  in  a  wavering 
voice.  She  rushes  up  the  mountain  and  does  not  look  behind 
her,^  for  ^  she  fears  ^  that  the  happiness  which  follows  her  will 
vanish.  As  she  rushes,  breathless,  up  the  mountain,  like  birds 
released  from  their  cages,  she  can  hear  ^  footsteps  coming  be- 


EXERCISES.  19 

hind  her,  ever  faster  and  faster.  And  as  she  stops  with  beating 
heart  at  the  emperor's  bush,  the  one  hoped-for  stands  behind 
her.  She  loses  consciousness  and  knows  nothing  more,  and 
Hes  on  his  breast.  It  seems  to  her  as  if  the  roaring  flood  of 
the  Rhine  were  sweeping  them  down  with  itself,  so  that  ^  she 
has  to  cling  to  Hans  in  order  not  to  sink  into  immeasurable 
depths.  It  is  her  good-fortune  that  Hans  is  there  to  breathe 
new^  life  and  love  into  her  again,  to  rub  her  forehead  and 
hands  so  that  at  last  she  can  again  sit  on  the  bench.  Then 
they  sit  silent  for  a  long  time,  for  no  one  at  all  was  in  sight  of 
the  hill,  and  true  love  cannot  speak  quickly. 

1  reflexive.        2  see  preceding  lessons.        3  fiir^tcn.   reg.        *  fo  t)a§. 

5  neu. 


26. 

From  „mdn  treueg  $?ieb"  to  ,,3a,  Tlaiil'' 

"Yes,"  says  Hans  at  last,  "you  are  surely  ill;  1  should  have 
come  sooner."  But  Marie  says,  happily  smiling^  and  shaking 
her  head,  "  No,  not  any  longer ;  but  you  must  not  stay  away 
so  long.  My  father  says  that  if  you,  the  poor,  obscure  appren- 
tice, had  come,  he  could  only  have  driven  you  away  from  his 
threshold  again.  When "  a  name  can  be  mentioned  with  honor 
among  Diirer's  pupils,  its  owner  ^  may  woo  the  aristocratic 
daughter  ^  of  a  councillor.  You  have  held  out  so  long  ^  that 
you  can  say  that  you  have  seen  the  world  and  have  trained 
your  eyes  (by  gazing)  upon  great  treasures  of  art  in  a  city. 
When  you  were  with  Diirer  you  worked  with  him  in  the  great 
workshop,  and  you  do  not  see  me  again  only  to  be  separated 


20  GERMAN    COMPOSITION. 

from  me  again.  You  do  not  really  believe  that  my  father 
would  drive  you  away  from  our  threshold  in  disgrace  and 
shame  a  second  time." 

1  dependent  clause  after  Inbcm.         2  see  preceding  lessons. 
3  bcr,  ber  il)ii  ful)rt.        ■*  fo  (angc. 


From  „3a,  9)^aili''  to  „mex  ift  e§  benn?" 

Hans  had  hurried  to  this  place  to  make  new  high-altars  for 
the  cities,^  for  he  thought  ^  he  could  not  fail,  but  Ruppacher 
had  had  something'^  to  allege  against  such  works.  He  has 
heard  something  new,  and  even  if  Hans  is  found  worthy  to  apply 
for  the  work,  he  will  still  shake  his  head  incredulously.  Hans 
had  heard  that  the  most  wise  council  was  purposing  to  have 
the  altar  made,  and  his  hopes  increased.  He  says  ^  that  Marie 
has  taken  good  care  of  the  emperor's  bush,  so  that^  it  has  grown 
well.  He  called  the  tree  a  thief  that  had  absorbed  her  fresh, 
red  color,'*  for  -^  the  roses  were  deep-red.  Why,  it  seemed  as 
if  all  the  blood  had  vanished  from  her  cheeks,  and  Hans 
stroked  them  gently  with  a  handful  of  roses  as  if  he  were 
painting  them,  but  they  still  remained  pale.  It  was  of  no 
avail ;  the  roses  in  her  cheeks  did  not  bloom  again.  Two 
hours  later  Hans  went  with  glad  steps  to^  the  tall-gabled 
town-hall  of  Nuremburg,  and  desired  urgently  to  be  conducted 
before  the  magistracy. 

1  see  preceding  lessons.        2  ntcincn.        3  etn)a§.        *  '^axbe,  f.       ^  xia^. 


EXERCISES.  21 

28. 

From  „Ser  ift  e§  bcnn?  "  to  „Xcx  ^iefrin!  tl)ut'g  nic^t." 

"  Did  you  ask  who  it  was?  "  said  the  servant;  "  it  was  that 
Hans  Liefrink,  so  well-dressed  a  person  that  one  would  scarcely 
recognize  him."  This  was  a  surprise  to  the  council,  for  the 
Hans  whom  they  knew  was  a  fugitive  and  a  vagrant.  What  did 
he  want  now,  —  he  who  had  run  away  in  the  night  and  mist, 
Heaven  knows  whither,  and  who  had  been  tramping  about, 
Heaven  knows  where,  for  more  than  a  year?  The  dejected 
servant  of  the  council  said  that  Hans  wanted  to  sue  for  the 
work  of  the  new  high-altars.  He  thought^  that  Hans  could 
accomplish  something,  but  the  most  wise  gentlemen  would  not 
have  anything  to  do  with  such  a  fugitive.  Only  one  gentleman 
agreed  with  the  good-natured  servant,  in  saying^  that  Hans 
would  bring  to  pass  something  other  than  what  every  vagrant 
bungler  might  (do) .  The  servant  had  *  to  leave  the  hall  with 
the  rough  reply,  that  Hans  should  betake  himself  to  the  place 
he  came  from.  When  the  servant  immediately  afterwards 
came  back,  they  saw  ^  that  he  brought  in  Hans's  portfolio  with 
him,^  but  they  did  not  wish  to  hear  anything^  more  about  the 
drawings,  and  he  had  to  leave  the  hall  again. 

^  fenncn.        2  see  preceding  lessons.        3  =  <  as  (a(§)  he  said.'        ^  mil  [fen. 
5  reflexive.        "  '  not  anything  '  =  nicf)tl. 


29. 

From  ,,S)er  ^icfrinf  t^ut'8  md)V'  to  ,,5lber  ein  ®ute3." 

*'If  their  worships  would  only  look  at  the  drawings,  these 
would  tell  (it  to)  them."     But  the  councillors  did  not  wish  to, 


22  GERMAN    COMPOSITION. 

and  they  did  not  know  that  if  they  only  inquired  of  Diirer,  he^ 
also  could  tell  them  everything.  Then  Ruppacher,  who  was 
not  -  a  peaceful  man,  cried  out  that  if  Hans  did  not  take  him- 
self off  soon,  they  would  have  the  beadle  remove  him.  But  the 
stern  burgomaster  had  in  the  meantime  opened  the  portfolio, 
and  remarked  that  the  drawing  did  not  seem  to  him  so  bad, 
that  it  was  very  ingeniously  designed.  "  But  isn't  it  easier  to  ^ 
plan  the  coronation  of  Mary  in  heaven,  than  to  execute  it?  " 
spoke  another  ;  "  Hans  will  never  be  able  to  do  anything  of  the 
sort."  It  was  unheard-of  that  such  a  stupid  youth  as  he  could 
execute  such  *  noble  pieces  of  work.  They  had  seen  him  grow 
up  and  had  never  noticed  anything  especial  about  him ;  they 
had  even  scorned  him.  Now  they  could  not  commission  him 
with  the  work,  for  the  sake  of  the  mere  good  name  of  the  coun- 
cil.    So  they  turned  Hans  irrevocably  away. 

1  biefer.        -  ' not  a'  =  fcin,        ^  use  ju.        •*  fo. 


30. 

From  „%hex  ein  ®uteg"  to  „3)uver'g  2(ntmort." 

The  one  ^  good  thing  which  this  incident  had,  was  that  it 
brought  the  gentlemen  to  the  idea  that  the  work  must  not 
come  into  bad  hands.  In  order  to  be  sure  of  this,"^  they  sent 
Diirer  a  letter  with  the  drawings  which  had  hitherto  been  sent 
in,  and  asked  his  judgment  on  them.  When  Hans  heard  this 
he  did  not  despair ;  he  had  fared  badly  at  the  council-house, 
but  he  still  hoped  in  Diirer,  and  simultaneously  with  the  letters 
of  the  gentlemen  of  the  council  he  sent  a  letter  to  Diirer,  his 
great  teacher.     Political  wars  and  disorders  so  diverted  Rup- 


EXERCISES.  23 

pacher's  attention  from  the  lovers  that  they  spent^  some*  weeks 
alternately  between  sweet  suspense  and  anxious  happiness. 
Now^  that  they  were  more  undisturbed  than  ever,  Marie 
could  live  and  bloom  afresh  in  the  new  springtime  of  love. 
When  Hans  moved  back  into  his  desolate  house,  he  carved 
himself  new  house-doors,  and  it  was  ^  these  which,  in  spite  of 
the  contempt  of  all  native  artists,  made  (a)  great  sensation. 

1  einatg.       -  beffen.       ^  jui^ritigen.       ^  met)  re  re.       ^je^t.       c  plural. 


31. 

From  ,,2)urerg  3lnttt)ort"  to  ,,§an§  trat  IjerauS." 

What^  a  sorry  affair  the  mail-service  then  was,  nobody^  can 
describe.  Letters,  remained  due  a  long  time,  and  one  had  to 
exercise  a  nowadays  unheard-of  (amount  of)  patience,  for 
they  had  to  reckon  with  months  and  weeks  instead  of  with 
days  and  hours,  as  ^  we  do  (it) .  But  when  at  last  Diirer's 
reply  came,  the  council  was  surprised  *  that  he  had  sent  back 
those  drawings  of  Hans  Liefrink's,  and  no  others.  Diirer's 
reply  contained  these  words  :  ^  "  With  the  best  of  intentions,  I 
could  not  recommend  to  you  anything  more  beautiful."  The 
sketch  of  his  best  scholar  was  so  beautiful  that  he  gave  security 
for  its  perfect  execution.  He  cannot  understand  why  °  Brei- 
sach  is  not  proud  of  Hans,  for  he  is  one  of  the  most  honorable 
youths,  and  one  could  recommend  no  greater  artist.  When  ^ 
they  harbored  such  a  youth  in  the  midst  of  their  city,  why 
should  they  turn  to  an  outsider?  The  city  of  Breisach  must  do 
all  that  it  can  to  attach  Hans  (to  it),  for  the  great  world  is 
open  to  him,  and  he  may  return  to  it.     Four  hours  later  the 


24  GERxMAN    COMPOSITION. 

council  was  proud  to  call  him  its  own,  and  what  can  describe 
Hans's  astonishment  to  see  a  procession  stopping  ^  in  front  of 
his  house  in  the  narrow  street.  As  ^  Hans  runs  to  the  window, 
the  knocker  resounds  loudly  in  the  jaws  of  the  brazen  lion's 
head  on  his  door. 

1  m\^  fiir.        -  feincr.       ^  ix)ie.        4  [tauncn.        ^  2Borte. 
''  see  preceding  lessons.         <"  luenil. 


32. 

From  „§au8  trat  tjerauS"  to  the  end  of  the  chapter. 

After  Hans  had  stepped  out,  he  saw  ^  the  deputation  of  the 
common  council  standing  ^  before  him  in  solemn  parade,  and 
the  entire  -  population  of  the  streets  which  lead  from  the  coun- 
cil-house had  followed  it.  The  astonished  Hans  asked  the 
gentlemen  what  they  desired  of  him.  The  speaker  of  the 
deputation  said  that  the  most  wise  council  notified  and  in- 
formed him  that  they  ^  had  almost  unanimously  agreed  to  ac- 
cept his  proposition,  which  concerned  the  construction  of 
high-altars.  "We  agree  to  the  proposition,"  he  said,  "with 
no  sum  fixed,  and  the  money  for  buying  wood,  etc.,  may  be 
obtained  from  the  book-keeper  of  the  council."  When^  Hans 
heard  this,  he  struck  his  hands  together  for  joy,  and  asked 
whom  he  had  to  thank  for  such  -^  good-fortune.  While  *  the 
spokesman  was  reading  aloud  before  the  people  Dlirer's  letter, 
which  the  council  had  sent  (to)  Hans,  Ruppacher  was  angrily 
closing  all  (the)  window-shutters  of  his  house,  for  this  praise 
of  his  young  neighbor  offended  his  ears.  At  last^  the  moment 
was  at  hand  when  Hans  might  put  on  his  best  attire  and  go 


EXERCISES.  25 

over  to  Ruppacher's  to "  sue  for  ^  his  daughter.^  After  he  had 
put  a  nosegay  on  his  attire,  he  noticed  that  the  shutters  were 
closed. 

1  see  preceding  lessons.        ^  gan^.        3  ,jmn.        ^  alS.        ^  ciiblic^.        ^  nm. 


IV.  Die  Bc^in^un$. 

33. 

From  „Tia\\i  madjtt"  to  „§crr  9Jat !  fu^r  §an§  auf." 

After  ^  Marie  had  opened  the  door  for  him,  she  uttered  ^  one 
hght  outcry  of  joyous  terror,  and  Hans  saw^  her  disappear. 
Then  ^  she  sank  down  with  throbbing  heart  before  a  prayer- 
stool  and  besought  the  most  blessed  Virgin  for  assistance.  The 
unterrified  Hans  goes  in  to  Ruppacher.  As  he  sees  him  enter, 
he  shouts  out :  "  Have  you  come  to  ensnare  the  heart  of  my 
daughter?  Have  you  come  to  ask  what  I  wish?  "  and  his  eyes 
blaze.  Hans  answers  ^  that  he  wishes  in  the  first  place  to  thank 
Ruppacher  for  the  confidence  which  the  most  wise  councillors 
had  shown  *  in  ^  giving  him  their  votes.  Ruppacher  interrupts 
him  and  says  with  suppressed  rage  that  he  need  not  pay  him 
any  thanks,  for  ^  he  had  not  given  Hans  his  vote.  Hans  asks 
in  surprise  what  the  councillor  has  to  allege  against  him.  He 
replies  that  Hans  has  thrown  love-glances  at  his  young  daughter 
and  has  ensnared  her  heart:  "  She  now  no  longer  wishes  to 
become  the  wife  of  any  respectable  man,"  says  he,  "  it  is  a 
young  beggar  who  continually  occupies  her  thoughts."  Hans 
replies  calmly  that  he  knows  ^  of  one  honorable  man  whose  wife 
Marie  wishes  to  become,  and  that  this  honorable  man  is  him- 


26  GERMAN    COMPOSITION. 

self.'  Ruppacher  laughs  aloud  and  says  that  he  had  never  yet^ 
met  with  (a  case)  where®  a  beggar-boy  had  sued  for^  the 
daughter  of  a  councillor. 

1  see  preceding  lessons.        2  auSftofecn.        3  jjann.        ^  bcmcifcn.        5  iubcm. 
6  use  the  subjunctive.        '  cr  fclbft.        ^  nod^  ni(!^t.        ^  ba^. 


34. 

From  „.^err  5Kot !  fu'^r  §an8  an\''  to  ,,§icr  ^aB'  id^  ftc." 

Hans  is  not,  and  was  not  a  beggar.  He  is  poor,  but  these 
persons  are  yet  to  appear  who  can  allege  that  they  have  given 
him  a  copper.  His  father  nourished  his  family  ^  by  making 
engravings ;  after  the  death  of  his  father,  his  mother  and  him- 
self maintained  themselves  honorably  by  the  labor  of  their 
hands.  The  emperor  Max  had  given  him  a  beautiful  -  knife 
and  a  purse,  but  that  was  the  only  (thing)  he  had  received  as 
a  present  throughout  his  lifetime.  Had  he  begged  for  these? 
The  eye  of  the  great  emperor  penetrated  with  a  divine  in- 
sight into  the  soul  of  the  poor  boy,  and  he  had  recognized  in 
the  youth  an  honorable  striving.  He  is  not  a  beggar  because 
the  emperor  has  given  him  such  riches.  It  was  not  a  lazily 
received,  lazily  squandered  benefice,  he  has  saved  and  held 
together  his  capital,  and  invested  it  so  that  -  it  should  bring 
in  large  interest.  Since  he  is  not  a  beggar  he  ought  not  to 
endure  such  words.-  He  calmly  spoke  on,  and  showed  the 
councillor  his  riches. 

1  f^amiltc  f.        2  see  preceding  lessons. 


EXERCISES.  27 

35. 

From  „^^uv  I)ab'  id)  fte"  to  ,,§au§  ?iefriu!  bcbtc." 

"  Do  you  point  at  your  head  and  your  hand  in  order  to  ^ 
make  a  fool  of  me?"  shouts  the  furious  councillor.  Hans 
wished  only  to  inform  him  in  this  way  that  he  had  also  riches, 
for  he  had  a  thinking  head  and  industrious  hands,  and  through 
these  he  created  ^  works  which  were  to  bring  him  wealth  and 
possessions,  and  he  believed  that  in  these  there  was  latent  a 
great  deal  of  money-value,  which  would  come  to  light  in 
the  course  of  time.  Ruppacher  did  not  wish  to  beheve  in  a 
mere  ^  representation,  and  he  would  not  give  his  beautiful 
daughter  to  this  youth,  for  he  had  only  birds  in  the  bush  and 
none  in  the  hand.  Hans  believed  that  he  had  abundant 
means  of  livelihood  for  many  ^  years,  and  that  his  works  would 
bring  in  new  orders.  Although^  the  councillor  declared  that 
hard  times  were  coming,  and  that  his  daughter  would  really  ^ 
have  to  play  the  lute  in  the  alleys  if  ^  she  were  given  to  such  a 
man,  Hans  preferred  "^  his  unprofitable  profession  ^  to  the 
labor  of  a  shoemaker  and  tailor,  for  he  knew  that  every  man 
needs  ^  not  only  clothing  and  shoes,  but  also  [the]  art. 

1  um.        2  entftel)en  laffcn.        ^  bIo§.         *  see  preceding  lessons.        s  obluol)!. 
6  rooi)[  nod).        '  t»or3ie{)Cn  (accus.  and  dat.).         8  58eruf,  m.        9  subjunctive. 


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Edgren's  Spanish  Grammar,  Matzke's  Spanish  Reader. 

Ybarra's  Practical  Method  in  Spanish. 


D.  C.  HEATH  &  CO.,  PUBLISHERS, 

BOSTON.  NEW  YORK.  CHICAGO.  LONDON. 


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